We have posted our
collection of Harper's Weekly newspapers to this WEB site to enable
students to gain a better understanding of the key events of the War.
Reading these old papers will take you back in time to a day that the
cannons were till firing, and the war was still raging.

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REVEREND H. M. TURNER, CHAPLAIN FIRST UNITED STATES
COLORED REGIMENT.

(Previous
Page) in the grand proportions of a temple, it has its house built
around it. In a noble instance like the present, where an artistic inspiration,
a unity of idea, a sense of vital correspondence of the inward and outward
presides over and pervades all, the house or outward temple seems rather to have
grown up with that which it both hides and reveals, to have risen in its
symmetry and grandeur to the music (heard by a fine inner sense) of the organ
soul. Nor does the term house do sufficient justice to the beautiful design
before us. It is in some sense the body of the organ, the outward visible
embodiment of its interiors. Not, to be sure, like the animal or human body,
itself composed of organs; but the body of the idea of the organ, the shadowing
forth by correspondence of its co-working inner parts and uses, the typifying of
all its history and prophecy, as music itself typifies the whole course and
prophecy of life.

The structure is of black walnut,
and is covered with carved statues, busts, masks, and figures in the boldest
relief. In the centre a richly ornamented arch contains the niche for the
key-boards and stops. A colossal mask of a singing woman looks from over its
summit. The pediment above is surmounted by the bust of Johann Sebastian Bach.
Behind this rises the lofty central division containing pipes; and crowning it
is a beautiful sitting statue of St. Cecilia, holding her lyre. On each side of
her a griffin sits as a guardian. This centre is connected by harp-shaped
compartments filled with pipes to the two great round towers, one on each side,
and each containing three colossal pipes. These magnificent towers come boldly
forward into the hall, being the most prominent as they are the highest and
stateliest part of the facade. At the base of each, a gigantic half-caryatid, in
the style of the ancient hermae, but finished to the waist, bends beneath the
superincumbent weight, like Atlas under the globe. These figures are of
wonderful force, the muscular development excessive, but in keeping with their
superhuman task. At each side of the base, two lion-hermae share in the task of
the giant. Over the base rises the round pillars which support the dome, and
inclose the three great pipes already mentioned. Graceful as these look in their
positions, half a dozen men might creep into one of them and be hidden. The
three great pipes are crowned by a heavily sculptured, ribbed rounded dome; and
this surmounted on each side by two cherubs, whose heads almost touch the lofty
ceiling. This whole portion of the sculpture is of eminent beauty. All the
reliefs that run around the lower portion of the dome are of singular richness.

The whole base of the instrument,
in the intervals of the figures described, is also covered with elaborate
carvings. Groups of musical instruments, standing out almost detached from the
back-ground, occupy the panels. Ancient and modern, clustered with careless
grace and quaint variety, from the violin down to a string of sleigh-bells, they
call up all the echoes of forgotten music, such as the thousand-tongued organ
blends together in one grand harmony. As we return to the impression produced by
the grand facade, we are more and more struck with the subtle art displayed in
its adaptations and symbolisms. Never did any structure we have looked upon so
fully justify Madame de Stael's definition of architecture—"frozen music."

The outermost towers, their
pillars and domes, are all square, their outlines thus passing without too
sudden transition from the sharp square angles of the vaulted ceiling, and the
rectangular lines of the walls of the Hall itself, into the more central parts
of the instrument, where a smoother harmony of outline is predominant. For in
the great towers, which step forward, as it were, to represent the meaning of
the entire structure, the lines are all curved, as if the slight discords which
give sharpness and variety to its less vital portions were all resolved as we
approach its throbbing heart. And again, the half-fantastic repetition of
musical forms in the principal outlines —the lyre-like shape of the bases of the
great towers, the harp-like

figure of the connecting wings,
the clustering reeds of the columns—fill the mind with musical suggestions, and
dispose the wondering spectator to become the entranced listener. Dr. Upham thus officially reports
of the organ-house find its artist-builders: In regard to the architectural
form and enshrinement of the instrument I have time to say but a word. This part
of the work the directors approached with no little diffidence and doubt.

No structure of the kind that
could be found in Europe appeared to meet the somewhat anomalous position that
was to be occupied. It was only after months and years of patient effort and
trial that the present fitting habitation for so noble an instrument could be
obtained. The germ of the structure is a design by Hammatt Billings. His were
the outlines of general form and proportion. But in its present embodiment, if
we except the cherubs on the tops of the high towers, the germ alone remains.
The

finally adopted plan, in all its
artistic and elaborate beauty and grandeur, belongs to the brothers Gustave and
Christian Herter, of New York, whose designs, when submitted to Mr. Billings,
were pronounced by him, with characteristic frankness and unselfishness, to be
superior to his own, and urged upon the acceptance of the committee. It is
impossible to speak in terms of too high praise of the care, attention, and
conscientious application on the part of

Mr. Herter himself and all in his
employ to the work during the two years and more of its construction.—Be it the
artist (who in the person of Christian Herter is with us to-night), from whose
brain leaped forth, Minerva-like, the finest forms of human and ideal things, or
the sculptor by whose cunning these were stiffened into shape and fixed in the
willing wood—the modelers in clay and plaster—the carvers, carpenters, and
finishers—all labored with one mind toward the perfect result.

The inauguration of the great
organ was most imposing ceremonial.

REV.
H. M. TURNER.

WE publish herewith a portrait of
Rev. H. M. TURNER, the first man of color ever commissioned a chaplain in the
United States service.

The Rev. H. M. Turner is a native
of South Carolina, and is now near thirty-one years of age. He was born in the
vicinity of Newberry Court House, grew up to a good-sized boy on the cotton
fields with the slaves, and learned to read by his own efforts. His mother,
marrying in Abbeville village, carried him there, where he waited on some
lawyers, who became so much impressed with his talent, that, in defiance of the
prohibition of the law, they took pleasure in instructing him. He would listen
to them talk and speak, and then go

in the woods and repeat what he
had heard. Thus his mind developed, and in his seventeenth year he became a
member of the Methodist church. He was licensed to preach in his twentieth year,
and displayed such intelligence in his first sermon that he made quite a
sensation. From this time forth he attracted great crowds wherever he went.

Eventually his name became so
well known that white churches were often thrown open to him of all
denominations—a circumstance almost unknown, for the law of South Carolina
strictly forbids colored men preaching. He traveled through Savannah (Georgia),
Montgomery (Alabama), and Mobile, where he was known as the Negro Spurgeon, and
every one, white and colored, was rife to see and hear him. After visiting
nearly all the great Southern cities, he settled at St. Louis, Missouri, and
joined the African Methodist Episcopal Church. Bishop Payne sent him to
Baltimore city. In April, 1862, Bishop Payne again sent him to Washington city,
to take charge of the large colored church known as the Israel Bethel Church.
Here his reputation soon rose, and it was nothing strange last winter to see on
Sunday evenings several Congressmen sitting about in the church. In August,
1862, he delivered a sermon on the policy of organizing colored soldiers, which
was published in the Washington Republican, and created some stir, and at first
considerable opposition. He persevered, however, till he and others friendly to
the move were allowed to commence to recruit the regiment of which he is now
chaplain. He was commissioned chaplain on the 10th of last September, entered
upon active service a few clays afterward, and is now with his regiment on his
way to Texas to reinforce the gallant army which is led by General Banks.

Mr. Turner is a man of great
personal courage: he fears no man and nothing. In large assemblies he can
command attention when few others could. His size is ordinary, with yellow
complexion and very sharp features.

THE SWAMP ANGEL.

ANGELS of good and ill are every
where;

They haunt the city and the
cottage lone;

Their seen or unseen presence
fills the air,

And feels the stir of every laugh
or moan.

And frequent the good angels are
the bane

Of evil men, who name them evil
things;

And darkest ministers of death
and pain

Oft bear the angel light upon
their wings.

So are they changed. The angel of
the wind,

That speeds the sailor swiftly
o'er the flood,

Is the sea demon of the crew
behind,

Whose hands are eager for the
stain of blood.

And many a mother has the angel
blessed

Of the dark swamp, as, with
convulsive strain,

She clasps her wondering infant
to her breast,

While baffled blood-hounds lick
their chops in vain.

Before the wicked city's traitor
hold

Stands a swamp angel all unangel
wise;

Perhaps some bondman's prayer has
made it bold,

Thus to put off its old and
unseen guise.

And it sends back the hound's
deep-throated tone

Full with the message of
rebounding ill:

And the pale hunters curse it
with a groan,

For the swamp angel is a demon
still.

MAP OF THE VICINITY OF KNOXVILLE, TENNESSEE,
SHOWING THE LINE OF COMMUNICATION BETWEEN KNOXVILLE AND
CHATTANOOGA.

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